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Titlebook: Gardens and the Passion for the Infinite; Anna-Teresa Tymieniecka Book 2003 Springer Science+Business Media Dordrecht 2003 Roman Ingarden.

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发表于 2025-3-21 17:07:17 | 显示全部楼层 |阅读模式
书目名称Gardens and the Passion for the Infinite
编辑Anna-Teresa Tymieniecka
视频video
概述Includes supplementary material:
丛书名称Analecta Husserliana
图书封面Titlebook: Gardens and the Passion for the Infinite;  Anna-Teresa Tymieniecka Book 2003 Springer Science+Business Media Dordrecht 2003 Roman Ingarden.
描述What essentially is a garden? Is it a small plot of land that we put aside to cultivate our favourite vegetables or to grow flowers for our personal enjoyment? Or is it a symbol, a mirror, a reflection of our human passions? .Within the context of phenomenology/ontopoiesis-of-life, we find the significance of the garden inscribed within the web of the Human Condition, creatively unfurling its form from the vital basis to its loftiest swings of the period. The aesthetic synthesis of our passions is carried by the logoic promise of life - its infinite renewal and infinite response. .The topic of the present volume is the mysterious ways in which .Imaginatio Creatix. plays within the human ingrowness in natural life, transposing dreams, nostalgias, and enchantments.
出版日期Book 2003
关键词Roman Ingarden; aesthetics; concept; event; phenomenology
版次1
doihttps://doi.org/10.1007/978-94-017-1658-1
isbn_softcover978-90-481-6119-5
isbn_ebook978-94-017-1658-1Series ISSN 0167-7276 Series E-ISSN 2542-8330
issn_series 0167-7276
copyrightSpringer Science+Business Media Dordrecht 2003
The information of publication is updating

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发表于 2025-3-21 22:45:01 | 显示全部楼层
Mirrors of Affectivity and Aesthetics: Gardens, Parks, and Landscapes as Seen by Theophile de Viau avent and an important contribution to the aesthetic landscape of early modern culture. In the recently published issue of ., “Le Baroque en question(s),” the editor Didier Souiller states with good reason that the relationship between the baroque and classicism has changed ... baroque aesthetics wer
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Approaching Zen Gardens: A Phenomenological-Anthropological Approachblurred. The focused photo provides a clearer view, and an explanation such as “the sand represents waves of the ocean, and the rocks symbolise sacred mountains”, might have wide appeal. Thus seen in focus, the garden can be.read as a text, and we can question the meaning of the details that are vis
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Hatha Yoga: A Phenomenological Experience of Natureund us. Our chosen environment separates us from the world of nature. We often leave in the still dark hours, venturing forth from temperature controlled houses, travelling vast distances in temperature controlled cars, to classrooms and offices heated according to budgetary necessity rather than co
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In Search of Paradise: Gardens in Medieval French and Persian Poetryarate it from the disorganized world beyond. Next, the gardener selects those elements from nature that please him, such as fragrant flowers, fruit trees, and running water. He arranges these elements within the garden according to a design that allows him to appreciate each of them to the utmost. T
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The Chinese Attempt to Miniaturize the World in Gardensom which the small courtyard of the “Jade Spring Abode” was reproduced in the Metropolitan Museum of Art (Astor Court) in New York City, or the garden of the “Unsuccessful Politician” (Zhou Zhen Yuam) that painter Weng, Zhen-Ming and poet Yuan Mei frequented, or the garden of “The Lingerer-On” (Liu
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Opera as a Mirror of the Infinite: The Triumph of the Human Spirit over Natural Forces in ,shed by it. Whether we triumph or are crushed does not depend upon physical reality, but upon our perception of that reality. Thus, what can be a devastating event or series of events can also, when filtered through our perception, become something positive.
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The Looking-Glass Self: Self-Objectivation through the Garden, Paca was an eighteenth-century lawyer, revolutionist, signer of the Declaration, Governor of Maryland, Judge of the Federal District Court of Maryland, and anti-federalist. I visited the estate garden for the first time in the summer of 1999 without any intention of formulating a research project;
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The Fourth Dimension of Artspect to the Lord, he decided to paint on his knees. He set up the easel to the appropriate height, laid down all of his brushes, palette and colors, and after a short prayer, was ready to start. Suddenly he heard a voice coming from above, telling him, “Don’t paint me on your knees, you idiot, but
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